|||GET||| Drawing the Line Comics Studies and INKS, 1994

Total Page:16

File Type:pdf, Size:1020Kb

|||GET||| Drawing the Line Comics Studies and INKS, 1994 DRAWING THE LINE COMICS STUDIES AND INKS, 1994€“1997 1ST EDITION DOWNLOAD FREE Lucy Shelton Caswell | 9780814254004 | | | | | Comics Scholarship Finds Its Voice With 'INKS' and 'Drawing the Line' All rights reserved. Members save with free shipping everyday! Guide to Sources in American Journalism History 1 copy. British rocker Peter Frampton grew up fast before reaching meteoric heights with Frampton Comes Alive! Home Groups Talk More Zeitgeist. No 1994–1997 1st edition or reviews yet. Drawings Paperback Books. Gender Studies Paperback Books. Brian Cronin Jun 6, Qty: 1 2 3. Jared Gardner is Professor in the Department of English and the film studies program, specializing in American literature, film, and 1994–1997 1st edition culture. Here are their albums, spanning 29 years, presented from worst to best. Sign in to Purchase Instantly. Learn how to enable JavaScript on 1994–1997 1st edition browser. Brian Cronin Aug 15, Enabling JavaScript in your browser will allow you to experience all the features of our site. Add to cart. Calvin and Hobbes: Sunday Pages Preface copies, 6 reviews. Home 1 Books 2. In a brand-new Line it is Drawn, our artists draw comic book characters on homages of famous music album covers! Skip to main content. Member ratings Average: 4. As punks were looking for some potential pathways out of the cul-de-sacs of their limited soundscapes, they saw in funk a way to expand the punk palette without sacrificing either their ethos or idea l s. This week, in honor of the 40th Anniversary of Empire Strikes Back, our artists mashed up comic characters into the film! This week, our artists celebrate Marvel acquiring the license to Aliens and Predator by setting the Marvel Universe against either Aliens or Predators. In honor of the late Joe Ruby, co-creator of Scooby-Doo, our artists drew your ideas for comic book characters teaming up with Scooby and the gang! Combine with… No authors suggested. Cultural Studies Paperback Books. Studies in Comics and Cartoons Series. Superhero media has a history of critiquing the dark side of power, hero worship, and vigilantism, but none have done so as radically as Watchmen and The Boys. See details. Love's Long Line. Add to Wishlist. This week, our artists paid tribute to comic book legend Denny O'Neil, who passed away last week. Peterson Paperback 4. Includes Lucy Shelton Caswell is composed of 2 names. You may also like. Lucy Shelton Caswell is currently considered a "single author. This item doesn't belong on this page. Links No links Member ratings Average: 4. You can examine and separate out names. Read an Drawing the Line Comics Studies and INKS of this book! Books Bishakh Som's 'Spellbound' Is an Innovative Take on the Graphic Memoir Bishakh's Som's graphic memoir, Spellboundserves as a reminder that trans memoirs need not hinge on transition narratives, or at least not on the ones we are used to seeing. Members: None. www.cbr.com Lake Methodism. Line it is Drawn: Black Lives Matter In a special edition of Line it is Drawn, our artists pay tribute to black comic characters, black 1994–1997 1st edition creators, black comic store owners and more. See all 3 brand new listings. The volume, edited by Lucy Shelton Caswell, the journal's founding editor, and Jared Gardner, editor of the new Inks: The Journal of the Comics Studies Society, celebrates this foundational moment in the fast-growing field of comics studies and also serves as a call to contemporary scholars to revisit the roads-t-taken mapped out by these scholars and cartoonist critics. This week, our artists paid tribute to comic book legend Denny O'Neil, who passed away last week. Line it is Drawn: Tribute to Rep. George Cukor's gender-bending Sylvia Scarlett proposes a heroine who learns nothing from her cross- gendered ordeal. Line it is Drawn: Music Album Cover Homages In a brand-new Line it is Drawn, our artists draw comic book characters on homages of famous music album covers! This week, our artists celebrated the 80th anniversary of Green Lantern by showing various Green Lanterns throughout the decades, based on your ideas. See details for additional description. Peter Guralnick's homage to writing about music, 'Looking to Get Lost', shows how good music writing gets the music into the readers' head. Is this you? We rounded 'em up and ranked 'em to find out what Drawing the Line Comics Studies and INKS truly the greatest Greatest Hit of all. In a special edition of Line it is Drawn, our artists pay tribute to black comic characters, black comic creators, black comic store owners and more. Stock photo. Learn how to enable JavaScript on your browser. This week, the Line it is Drawn artists pay tribute to Chadwick Boseman after the tragic passing of the Black Panther actor. Links No links Member ratings Average: 4. Aliens vs. No ratings or reviews yet. Uh-oh, it looks like your Internet Explorer Drawing the Line Comics Studies and INKS out of date. Buy It Now. Gender Studies Paperback Books. Add to cart. Books Bishakh Som's 'Spellbound' Is an Innovative Take on the Graphic Memoir Bishakh's Som's graphic memoir, Spellboundserves as a reminder that trans memoirs need not hinge on transition narratives, or at least not on the ones we are used to seeing. Enabling JavaScript in your browser will allow you to experience all the features of our site. The Cure: Ranking the Albums From 13 to 1. Be the first to write a review. Seductively approachable, Gamblers' sunny sound masks the tragedy and despair that populate the band's debut album. Franz Kafka: Narration, Rhetoric, and Reading. The Line it is Drawn: Celebrating Lines! Music The Cure: Ranking the Albums From 13 to 1 Just about every Cure album is worth picking up, and even those ranked lowest boast worthwhile moments. Brian Cronin Sep 26, Related tags. I Agree This site uses cookies to deliver our services, improve performance, for analytics, and if not signed in for advertising. In a brand-new Line it is Drawn, our artists draw comic book characters on homages of famous music album covers! No events listed. The Line it is Drawn: Joe Sinnott Tribute This week, our artists pay tribute to the 1994–1997 1st edition comic book artist, Joe Sinnott, who passed away last week. View Product. By using their unique Includes the names: Lucy Caswell. Jared Gardner Drawing the Line Comics Studies and INKS Professor in the Department Drawing the Line Comics Studies and INKS English and the film studies program, specializing in American literature, film, and popular culture. Brian Cronin Jun 20, Brian Cronin Sep 12, As punks were looking for some potential pathways out of the cul-de-sacs of their limited soundscapes, they saw in funk a way to expand the punk palette without 1994–1997 1st edition either their ethos or idea l s. See details. Men as Trees Walking. Writing in true social history tradition, William W. Drawing the Line: Comics Studies and INKS, 1994-1997 You may also like. Members: None. Included in the volume are essays by pioneering comics scholars on newspaper comic strips, Japanese manga, Chinese lianhuanhua, comic books, graphic novels, and editorial cartoons, alongside writings and artwork by celebrated cartoonists such as Will Eisner, Oliver Harrington, Charles Schulz, and Frank Stack. Read an excerpt of this book! Brian Cronin Aug 29, Jared Gardner is Professor in the Department of English and the film studies program, specializing in American literature, film, and popular culture. Add to favorites. The Line it is Drawn artists pay tribute to the passing of civil rights icon and graphic novelist, Congressman John Lewis. In a brand-new Line it is Drawn, our artists draw comic book characters on homages of famous music album covers! Joe Wong, the composer behind Netflix's Russian Doll and Master of Nonearticulates personal grief and grappling with artistic fulfillment into a sweeping debut album. Just about Drawing the Line Comics Studies and INKS Cure album is worth picking up, and even those ranked lowest boast worthwhile moments. The lowest-priced brand- new, unused, unopened, undamaged item in its Drawing the Line Comics Studies and INKS packaging where packaging is applicable. Studies in Comics and Cartoons Series. Line it is Drawn: Tribute to Rep. Brian Cronin Sep 5, Included in the volume are essays by pioneering comics scholars on newspaper comic strips, Japanese manga, Chinese lianhuanhua, comic books, graphic vels, and editorial cartoons, alongside writings and artwork 1994–1997 1st edition celebrated cartoonists such as Will 1994–1997 1st edition, Oliver Harrington, Charles Schulz, and Frank Stack. Buy It Now. This 1994–1997 1st edition, in honor of the 40th Anniversary of Empire Strikes Back, our artists mashed up comic characters into the film! This week, our artists pay tribute to the legendary comic book artist, Joe Sinnott, who passed away last week. Guide to Sources in American Journalism History 1 copy. Superhero media has a history of critiquing the dark side of power, hero worship, and vigilantism, but none have done so as radically as Watchmen and The Boys. Brian Cronin Jun 20, About this product. Brian Cronin Jul 4, Aliens vs. Here are their albums, spanning 29 years, presented from worst to best. Links No links Member ratings Average: 4. View Product. The Line it is Drawn: Joe Sinnott Tribute This week, our artists pay tribute to the legendary comic book artist, Joe Sinnott, who passed away last week.
Recommended publications
  • Mao's War on Women
    Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 8-2019 Mao’s War on Women: The Perpetuation of Gender Hierarchies Through Yin-Yang Cosmology in the Chinese Communist Propaganda of the Mao Era, 1949-1976 Al D. Roberts Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the History Commons Recommended Citation Roberts, Al D., "Mao’s War on Women: The Perpetuation of Gender Hierarchies Through Yin-Yang Cosmology in the Chinese Communist Propaganda of the Mao Era, 1949-1976" (2019). All Graduate Theses and Dissertations. 7530. https://digitalcommons.usu.edu/etd/7530 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. MAO’S WAR ON WOMEN: THE PERPETUATION OF GENDER HIERARCHIES THROUGH YIN-YANG COSMOLOGY IN THE CHINESE COMMUNIST PROPAGANDA OF THE MAO ERA, 1949-1976 by Al D. Roberts A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in History Approved: ______________________ ____________________ Clayton Brown, Ph.D. Julia Gossard, Ph.D. Major Professor Committee Member ______________________ ____________________ Li Guo, Ph.D. Dominic Sur, Ph.D. Committee Member Committee Member _______________________________________ Richard S. Inouye, Ph.D. Vice Provost for Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 2019 ii Copyright © Al D. Roberts 2019 All Rights Reserved iii ABSTRACT Mao’s War on Women: The Perpetuation of Gender Hierarchies Through Yin-Yang Cosmology in the Chinese Communist Propaganda of the Mao Era, 1949-1976 by Al D.
    [Show full text]
  • MANHUA MODERNITY HINESE CUL Manhua Helped Defi Ne China’S Modern Experience
    CRESPI MEDIA STUDIES | ASIAN STUDIES From fashion sketches of Shanghai dandies in the 1920s, to phantasma- goric imagery of war in the 1930s and 1940s, to panoramic pictures of anti- American propaganda rallies in the 1950s, the cartoon-style art known as MODERNITY MANHUA HINESE CUL manhua helped defi ne China’s modern experience. Manhua Modernity C TU RE o ers a richly illustrated and deeply contextualized analysis of these il- A lustrations from the lively pages of popular pictorial magazines that enter- N UA D tained, informed, and mobilized a nation through a half century of political H M T and cultural transformation. N H O E A “An innovative reconceptualization of manhua. John Crespi’s meticulous P study shows the many benefi ts of interpreting Chinese comics and other D I M C illustrations not simply as image genres but rather as part of a larger print E T culture institution. A must-read for anyone interested in modern Chinese O visual culture.” R R I CHRISTOPHER REA, author of The Age of Irreverence: A New History A of Laughter in China L N “A rich media-centered reading of Chinese comics from the mid-1920s T U U I I through the 1950s, Manhua Modernity shifts the emphasis away from I R R T T ideological interpretation and demonstrates that the pictorial turn requires T N N examinations of manhua in its heterogenous, expansive, spontaneous, CHINESE CULTURE AND THE PICTORIAL TURN AND THE PICTORIAL CHINESE CULTURE Y and interactive ways of engaging its audience’s varied experiences of Y fast-changing everyday life.” YINGJIN ZHANG, author of Cinema, Space, and Polylocality in a Globalizing China JOHN A.
    [Show full text]
  • The Return of Chinese Dance Socialist Continuity Post-Mao
    5 The Return of Chinese Dance Socialist Continuity Post-Mao With its suppression of early socialist dance projects in favor of the newer form of revolutionary ballet, the Cultural Revolution decade of 1966–76 nearly brought an end to Chinese dance, as both an artistic project and a historical memory. Prior to the Cultural Revolution, Chinese dance had been the dominant concert dance form in the PRC. Most new dance choreography created between 1949 and 1965 had been in the genre of Chinese dance, and Chinese dance was the dance style officially promoted domestically and abroad as an expression of China’s socialist ideals and values. However, with the introduction of new cultural policies begin- ning in 1966, a decade of support for ballet and suppression of Chinese dance nearly wiped out memories of pre–Cultural Revolution activities in China’s dance field. Although many Chinese dance institutions that had been forced to shut down in 1966 reopened in the early 1970s, by the beginning of 1976 they were still banned from performing most pre–Cultural Revolution Chinese dance rep- ertoires, and ballet was still dominating the curriculum used to train new dancers. Dance films created before the Cultural Revolution were still censored from public view, meaning that most audiences had not seen pre–Cultural Revolution reper- toires, either live or on screen, for at least a decade. For children and adolescents too young to remember the pre–Cultural Revolution period, revolutionary ballet had become the only kind of socialist dance they knew. For them, revolutionary ballet was socialist dance.
    [Show full text]
  • The Traditionalist Painter Lu Yanshao (1909-1993) in the 1950S
    COMMUNIST OR CONFUCIAN? THE TRADITIONALIST PAINTER LU YANSHAO (1909-1993) IN THE 1950S THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Yanfei YIN B.A. Graduate Program in History of Art The Ohio State University 2012 Master's Examination Committee: Professor Julia F. Andrews Advisor Professor Christopher A. Reed Copyright by Yanfei YIN 2012 Abstract The establishment of the People’s Republic of China in 1949 triggered a deluge of artistic challenges for the Chinese ink painter. Lu Yanshao (陸儼少 1909-1993), an artist skilled in poetry, painting and calligraphy, had built his renown on landscape paintings following a traditionalist style. As of 1949, however, Lu began to make figure paintings that adhered to the guidelines established by the Communist Party. Dramatic social and political changes occurred in the 1950s under the new Communist regime. The Anti-Rightist Campaign, launched in 1957, targeted a large number of educated people, including many artists. Lu Yanshao was condemned as a Rightist and was forced to endure four years of continuous labor reform (laodong gaizao 勞動改造) in the countryside before finally ridding himself of the label of Rightist in 1961. Starting in 1957, Lu shifted his focus from making figure paintings for the country’s sake to his personal interest – creating landscape paintings. In 1959, the artist completed the first twenty five leaves of his famous Hundred-Leaf Album after Du Fu’s Poems. The surviving fourteen leaves combined painting, calligraphy and poetry, and are considered to be early paintings of Lu’s mature phase.
    [Show full text]
  • UNIVERSITY of CALIFORNIA, IRVINE Shanghai's Wandering
    UNIVERSITY OF CALIFORNIA, IRVINE Shanghai’s Wandering Ones: Child Welfare in a Global City, 1900–1953 DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in History by Maura Elizabeth Cunningham Dissertation Committee: Professor Jeffrey N. Wasserstrom, Chair Professor Kenneth L. Pomeranz Professor Anne Walthall 2014 © 2014 Maura Elizabeth Cunningham DEDICATION To the Thompson women— Mom-mom, Aunt Marge, Aunt Gin, and Mom— for their grace, humor, courage, and love. ii TABLE OF CONTENTS Page LIST OF FIGURES iv LIST OF TABLES AND GRAPHS v ACKNOWLEDGEMENTS vi CURRICULUM VITAE x ABSTRACT OF THE DISSERTATION xvii INTRODUCTION: The Century of the Child 3 PART I: “Save the Children!”: 1900–1937 22 CHAPTER 1: Child Welfare and International Shanghai in Late Qing China 23 CHAPTER 2: Child Welfare and Chinese Nationalism 64 PART II: Crisis and Recovery: 1937–1953 103 CHAPTER 3: Child Welfare and the Second Sino-Japanese War 104 CHAPTER 4: Child Welfare in Civil War Shanghai 137 CHAPTER 5: Child Welfare in Early PRC Shanghai 169 EPILOGUE: Child Welfare in the 21st Century 206 BIBLIOGRAPHY 213 iii LIST OF FIGURES Page Frontispiece: Two sides of childhood in Shanghai 2 Figure 1.1 Tushanwan display, Panama-Pacific International Exposition 25 Figure 1.2 Entrance gate, Tushanwan Orphanage Museum 26 Figure 1.3 Door of Hope Children’s Home in Jiangwan, Shanghai 61 Figure 2.1 Street library, Shanghai 85 Figure 2.2 Ah Xi, Zhou Ma, and the little beggar 91 Figure 3.1 “Motherless Chinese Baby” 105 Figure
    [Show full text]
  • Nona Arte 2.Pmd
    Capa de Lian Huan Hua Bao número 2, de 1975. 4 9ª Arte (| São Paulo, vol. 1, n. 2, 2o. semestre/2012 Lianhuanhua Prof. Dr. John A. Lent ( Temple University Lianhuanhua (illustrated the verbal and visual to tell stories, story books) were probably the an often-given criterion for comics, closest Chinese equivalent to and they resemble other pre- comic books until contemporary twentieth century drawings labeled times. They have been compared comics, e.g. those of Töpffer. to the Big Little books (Inge 2004) Lianhuanhua have a long and Classics Illustrated comics history, appearing under various popular in the United States in mid- names by region: tuhua shu twentieth century. Yet, though there (picture book) or xiao shu (little are similarities, they are different book) in Shanghai, yayashu from these and other western- and (children’s book) in Wuhan, and Japanese-style comic books. gongzaishu (kids’ book) in First of all, lianhuanhua Guangdong (Zhong 2004: 107). (also known as xiaorenshu, or little Their origin is hard to pinpoint, man’s books) are only palm size some researchers dating their (five inches long, three and a half precursors to Han Dynasty stone inches wide, and one-fourth inch carvings and murals. (see Jie, thick). They are formatted 2004; Jiang 2000; Chen 1996; differently, containing one Huang 1981) More likely, they illustration per page that carries a came out of the late nineteenth and paragraph description usually at early twentieth centuries. Kuiyi the bottom; seldom do they use Shen (1997: 3) attributed the balloons. For much of their long introduction of lithography to China history, lianhuanhua had purposes as the stimulus for development of and messages that deviated from an embryonic form of lianhuanhua, those of western comics; they were claiming an illustrated narrative used to support social and political about the Korean rebellion in a movements and to educate and 1884 Dianshizai Pictorial may mobilize readers.
    [Show full text]
  • Cover with Spine 3
    to celebrate the 30th IBBY world congress in China Bookbird special on Chinese children’s literature Bookbird special on Chinese children’s history, children lianhuanhua (comic books) science fiction for literature, illustrations xiaoming’s wang publishing jia li and jia mei stories poetry qin wenjun’s children’s and zhang zhi-lu write about writingchen jin bo’s danyan 2006 VOL 44, NO. 3 BOOKBIRD – A Journal of International Children’s Literature China Special IBBY ISSN 0006-7377 The Journal of IBBY,the International Board on Books for Young People Editors: Valerie Coghlan and Siobhán Parkinson Bookbird Address for submissions and other editorial correspondence: (ISSN 0006-7377) is published quarterly, at [email protected] and [email protected] the beginning of January, April, July and October. (Issues may occasionally be published early to mark Bookbird’s editorial office is supported by the Church of Ireland College of Education, Dublin, Ireland. particular occasions.) Annual subscriptions can start Editorial Review Board: Sandra Beckett (Canada), Nina Christensen (Denmark), Penni Cotton (UK), at any time of the year, and you will receive the Hans-Heino Ewers (Germany), Jeffrey Garrett (USA), Elwyn Jenkins (South Africa),Ariko Kawabata current issue and the next three, after which you will (Japan), Kerry Mallan (Australia), Maria Nikolajeva (Sweden), Jean Perrot (France), Kimberley be asked to renew your subscription. Reynolds (UK), Mary Shine Thompson (Ireland), Victor Watson (UK), Jochen Weber (Germany) Guest reviewers for this issue: Peter Hunt,Ann Lazim,Tamoko Narumi Rates (including postage) Special thanks for invaluable help with this issue to CBBY,Margaret Chang,Annette Goldsmith,Ann NB: Subscriptions delivered to addresses outside Lazim, Kerry Mallan, Pat Pinsent and Zhao Jing Canada are payable in US dollars or euro.
    [Show full text]
  • Defining Comic Art: an Onerous Task
    Defining Comic Art: An Onerous Ta sk JOHN A. LENT (Philadelphia) Ifit were so sim ple-to take liberty with an old saying with a rose as its referent­ that comic art by any other name is stili com ie art. But that is not the case; the term is slippery - difficult to define and delimit- as scholars worldwide have discove­ red. For each definitiongiven, an exception to the rule comes to mind, and the term itselfmight not be most appropriate. Com ie art implies humor, which is not always the case, especially with narrative strips. To call the medium narrative art, as co­ mies artist Will Eisner (19 85) does, is equally perplexing as the conceptual limits of that term are stili undefined,and ofcourse, not all com ie art is narrative. Another artist, Jerry Robinson (2000), one of the first three artists of Batman com ics, pre­ fersto say it is cartoon art. The confusion deepens when attempting to discuss types of com ie art. First of all, distinctions often are not made: com ie books and com ie strips are used inter­ changeably, as are comic strip and cartoon, and cartoon and caricature. Throughout Europe, karikaturis the common word forcartoon. Second, the problem is compo­ unded when trying to describe com ie art and its offspring in other cultures and lan­ guages. To the French, they are bande dessinee ( drawn strip); the Germans use Bil­ derslreifen or Bildergeschichte (picture strip, picture story), and the Italians have the word fumetto (puffof smoke, referring to speech balloons). The Hungarian word for comics is kepregeny (picture-novel), further defined by Hungarian co­ mies scholar Kalman Rubovszky (2000: 121) as, "A description with the help of pictures ofa sometimes emotional story which is full ofchanges." The Chinese ap­ plied the word lianhuanhua to such picture books.
    [Show full text]
  • "Lichees and Mirrors: Local Opera, Cinema, and Diaspora in the Chinese Cultural Cold War"
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Nottingham "Lichees and Mirrors: Local Opera, Cinema, and Diaspora in the Chinese Cultural Cold War" Forthcoming in Twentieth Century China, May 2018 Jeremy E. Taylor Department of History, University of Nottingham, United Kingdom Abstract This paper explores the fate of a southern Fujianese opera (liyuanxi) play that was reformed over the course of the early 1950s and eventually made into the first full-length film to be produced in southern Fujianese dialect (Minnanyu) in the People's Republic of China. It does this, however, in order to shed light on much wider battles that raged, from the mid-1950s to the early 1960s, over control of a plethora of local and provincial performance arts on both sides of the Taiwan Strait and between pro- and anti-Communist community groups throughout the Chinese diaspora in Southeast Asia. The story of this one particular play-cum-film―Chen San Wuniang (Chen San and “Fifth Daughter”; 1957)―highlights that it was often rapidly shifting Cold War geopolitics, rather than ideological content or quality, that determined the outcome of such battles. Keywords: Chen San Wuniang, Chinese diaspora, Cold War, liyuanxi, opera films, opera reform, southern Fujian 1 Introduction In southern Fujian Province today, one frequently hears mention of nanyin (南音) and its cultural cousin liyuanxi (梨园戏). Both of these mutually related traditions―the former a style of ensemble music acknowledged as one of “the oldest existing Chinese musical traditions,”1 the latter "one of the oldest and most conservative forms of theatre in China"2―originated in southern Fujian.
    [Show full text]
  • 160 John A. Lent and Xu Ying John A. Lent and Xu Ying Produced
    160 Book Reviews John A. Lent and Xu Ying, (2017) Comics Art in China. Jackson: University Press of Mississippi. 234 pages. ISBN (hardback): 9781496811752. John A. Lent and Xu Ying produced the book, Comics Art in China, mainly at the basis of intense interviews with at least 121 comic art-related personnel in China during past 15 years. This book successfully fulfilled its aims to present the most comprehensive overview possible of China’s comic art, including lianhuanhua, xinmanhua, comic books, newspaper strips, political and social commentary cartoons, humour/cartoon magazines, pictorial periodicals and animation. By highlighting its key events, personnel, issues, trends, and stories in the contexts of Chinese politics, culture, society, and economics, the book chrono- logically displayed the six historical periods of the development of China’s comic art. Chapter 1 “Cradle of Chinese Cartooning” uncovered the Chinese roots of main characteristics of cartoon art and the early development of mod- ern Chinese cartooning that emulated its Western counterparts in the late 19th and early 20th Centuries. The development was stimulated by efficient printing technology as well as people’s increasing dissatisfaction with the cor- rupted Qing government and threatening foreign nations. The unsettling and turbulent times nourished the first generation of devoted cartoonists, who alto- gether created the “Manhua’s Golden Age” (1920s–1930s) (Chapter 2). Those two decades spawned the first successful newspaper comic strips, an avalanche of cartoon magazines, the initial efforts to professionalise comic art with the creation of a cartoon association and exhibition, and a more precise definition of humor and cartoons.
    [Show full text]
  • Bandes Dessinées Hors-Champs Comics on the Outside
    bandes dessinées hors-champs comics on the outside université libre de bruxelles | 2-4 june 2021 Image: Hetamoé, « Violent Delights » (KUŠ!, 2020). Courtesy of Ana Matilde Sousa. www.heta.moe Ce colloque international a pour This international conference aims ambition de se saisir de la notion de at seizing this complex and hard-to- « corpus hors-champ » (Menu 2011). translate notion of the corpus hors- Celle-ci est apte à catalyser divers champ (Menu 2011), locating an intérêts de recherche et à faire ‘outside’ of comics. This notion can émerger de nouveaux objets d’études facilitate the convergence of various jusqu’alors tenus en marge des research interests to bring forward discours sur la bande dessinée. Le objects for scrutiny that were hors-champ invite en effet à élargir un previously held at the margins of corpus à une série d’objets, d’œuvres, comics studies. The ‘outside’ invites de pratiques situées aux limites et aux us to expand our usual corpora to a marges de ce qui est établi comme wider range of objects, works, and champ. Plutôt que de s’essayer à de practices positioned at the limits and vaines tentatives de redéfinir le margins of what has been périmètre d’un champ, ce colloque established as ‘field.’ Rather than invite à une acception large et trying in vain to redefine the fluctuante de celui-ci, défini par effet parameters of the field, this de contraste : le « hors-champ » est symposium invites a broad and ici envisagé dans une tension changing understanding of the ‘field’, dynamique avec le « champ », les deux where its ‘inside’ (champ) and termes s’impliquant mutuellement.
    [Show full text]
  • Mangasia Wonderlands of Asian Comics Tour Pack Contents
    Mangasia Wonderlands of Asian Comics Tour Pack Contents 1 Introduction 2 Mapping Mangasia 3 Fables and Folklore 4 Recreating and Revising the Past 5 Stories and Storytellers 6 Censorship and Sensibility 7 Multi Media Mix 8 Highlights 9 Installation Shots 10 Sample Marketing 1 Introduction © Pentagram Mangasia: Wonderlands of Asian Comics will present Exhibition contains over 280 pages of original comic book the largest ever selection of original artworks from Asian artwork, 116 high quality facsimiles, and 200 rare printed comics, displayed alongside their printed, mass-produced comics. forms, much of them rarely if ever shown outside their country of origin. The exhibition will also reveal the creative processes that underlie their production, from scripts, sketches and Includes works by Osamu Tezuka, Fujiko. F. Fujio, Aya Takano, layouts to finished pages. Kim Junggi, Goseki Kojima, Francisco V. Coching, Amar Chitra Katha, Abhishek Singh, Jiro Taniguchi, Zao Dao, Curated by Paul Gravett and a team of over twenty advisors, Hiroshi Hirata, Keum-suk Gendry-Kim, Sonny Liew, Park Kun- Mangasia: Wonderlands of Asian Comics will survey woong, Peter van Dongen, Keiji Nakazawa, Mars Ravelo, the entire realm of this new comics continent of ‘Mangasia’, Tsuge Tadao, Orijit Sen, Young-man Hur, Prum Vannak, through artwork from Japan, North and South Korea, Fumio Obata, Sung-hee Kim, Li-Chin Lin, Kazuo Kamimura, India, China, Taiwan, Hong Kong, Indonesia, Malaysia, Quang Sáng Nguyen, Eiji Otsuka, Taiyo Matsumoto, Miki The Philippines and Singapore, as well as emerging comics Yamamoto, Lai Tat Tat Wing, Ken Niimura, Takashi Fukutani, cultures in Bhutan, Cambodia, East Timor, Mongolia and Sheila Rooswitha Putri, Masahiko Matsumoto, Totempole, Taro Vietnam.
    [Show full text]